Once Upon A Time In The West
Sergio Leone's giant mega-Spaghetti Western is the ultimate Spaghetti Western. It may be the greatest Western of all time, period (it's at least up there with Shane and The Wild Bunch) and it’s one of my favorite films of all time. Like a novel, we are introduced very carefully to four separate characters, their motives and links to each other slowly come together. Like an opera, Ennio Morricone's masterful score gives each character their own theme. Once Upon A Time In The West is such a unique and fascinating film, it's no wonder that its influence can be seen in so many films after it, including the works of directors Quentin Tarantino, John Woo, Clint Eastwood, and Robert Rodriguez.
The Spaghetti Western is a term which refers to a genre of Westerns generally starting in the 1960s which were produced by Italians (but often shot in Spain). They usually had another Euro co-financier (usually Spain) and they would use an international cast (usually Italians and Spaniards and maybe an American) to sell the film in different countries. The '70s would also see the rise of sub-genres such as Spaghetti Gangster and Spaghetti Zombie flicks. A number of Spaghetti Western directors had an impact like Enzo Barboni (They Call Me Trinity), Sergio Sollima (The Big Gundown), Gianfranco Parolini (the Sabata trilogy), and Sergio Corbucci (Django). But the big dog, the Orson Welles of the genre, was Sergio Leone. He hit it big with his "Dollars trilogy" (Fistful Of Dollars, For A Few Dollars More, and The Good, The Bad And The Ugly). Beside Leone himself the trilogy also made international stars out of the score's revolutionary composer, Morricone, and its star, Clint Eastwood, then only known as a hack American TV actor.Continue Reading
Situated somewhere in the middle of two closely related movie trends of the 1970s - the "All-Star Cast Disaster Movie" (The Poseidon Adventure, The Towering Inferno, Earthquake) and the "Terrorist Disaster Movie" (Two-Minute Warning, Skyjacked, Black Sunday) - Rollercoaster from 1977 nestles nicely in its own netherworld, not realizing that the genre was running out of steam (Beyond The Poseidon Adventure anyone?). Although the "Disaster Movie" would continue to reemerge in Hollywood for decades under new guises (Independence Day, 2012, Dante’s Peak, etc.), its Golden Age was really when a guy like George Kennedy or Charlton Heston was at the rudder and stars from Hollywood’s Golden Age were still available to be carted in on their wheelchairs to make an appearance and collect their checks. Rollercoaster did manage to dig up a couple of legends (Richard Widmark and Henry Fonda) and a sorta cult name actress (Susan Strasberg, maybe more famous as the daughter of Actor’s Studio guru Lee Strasberg), along with a pair of '70s names (George Segal and Timothy Bottoms). Director James Goldstone, whose most important credit may actually be the second pilot of the Star Trek TV series, manages to employ some Alfred Hitchcock cat-and-mouse tricks to generate suspense and give a dying genre a last gasp of breath.
To think that Bottoms started the decade off with two great movies (The Last Picture Show and The Paper Chase), in Rollercoaster he plays “Young Man,” a zombie-like psycho who is blowing up rollercoasters around the country in order to extort a million dollar ransom from the companies that own the parks. After an explosion on a rollercoaster, ride-inspector Harry Calder (Segal) is the first to figure out that this was no accident. He’s a regular guy with a teenage daughter (Helen Hunt, in her first movie) whom he often pawns off on his girlfriend (Strasberg), and a deep anti-authority complex, to the chagrin of his hateful boss (a brief Fonda clearly trying to up his SAG pension numbers). Bottoms makes Segal his point man as he threatens more bombings and the FBI joins him, with the angriest FBI head-man of all time (played by the one time great Widmark, who just spews intensity here) who seems to hate Segal even more than Fonda. The highlight is an intense scene in an amusement park, as Segal is forced to deliver money to Bottoms and instead ends up carrying a bomb onto a coaster. It all leads to Segal having to argue with the dumbbells in charge of the investigation and a showdown with the terrorist who looks to ruin the upcoming 4th of July festivities at one of the many possible amusement parks in America (and he does end up slightly disrupting the big Sparks concert at Six Flags Magic Mountain).Continue Reading
The Grapes Of Wrath
When Tom Joad (Henry Fonda) returns to his Oklahoma farm after four years in prison, he learns that nothing is what it was. It’s the 1930s, the depression is on, and his family has lost their farm and home to the bank. So begins an amazing journey for Tom - as he sees the social injustice around him he grows from petty criminal to labor activist. The Grapes of Wrath is a monumental film by a monumental director, John Ford, based on a brilliant book by another monumental figure, John Steinbeck. The truths laid out in the book and film may be just as true today as they were then. Tom leads his family from the dustbowl in search of work and a promise for a better life in California, but all they find are lies, police corruption, and corporate exploitation of desperate workers. It sounds a lot like the plight migrant workers from Mexico and Central America still face in search of the supposed American Dream.
The Grapes Of Wrath almost plays like a post-apocalyptic adventure as Tom, along with his Ma (Jane Darwell), Pa (Russell Simpson), and the preacher, Casey (John Carradine), pack the entire Joad clan into the truck and head west, where the world they encounter is a hostile and burnt out place. They are encouraged by pamphlets to head to California, but they get there to find themselves hoarded like cattle in a police state where their every move is monitored (another piece of futureshock, the dystopian state). Tom, at first naive, then confused, slowly realizes that all the cards are fixed against him and all the little people of the country. By the end, on the run from the cops, he tells his Ma in one of the great speeches in film history, "Wherever there's a fight, so hungry people can eat, I'll be there. Wherever there's a cop beatin' up a guy, I'll be there..." It’s a dark conclusion for the Joad family (and for the American Socialist dream, as WWII and then the Cold War are just around history’s corner).Continue Reading